THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING
HIS MINORITY OF SENSE IN TOM TYKWER’S
PERFUME:
THE STORY OF A MURDERER
MOVIE:
PSYCHOANALYTIC APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements for getting the Bachelor Degree of Education
in English Department
By:
WIDYA RATNA APRILIA A 320 060 375
SCHOOL OF TEACHER TRAINING AND EDUCATION FACULTY MUHAMMADIYAH UNIVERSITY OF SURAKARTA
APPROVAL
RESEARCH PAPER
THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING HIS MINORITY OF SENSE IN TOM TYKWER’S PERFUME:
THE STORY OF MURDERER MOVIE (2006): A PSYCHOANALYTIC APPROACH
by
WIDYA RATNA APRILIA A 320 060 375
Submitted as Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department
Approved by
Consultant I Consultant II
ACCEPTANCE
THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING HIS MINORITY OF SENSE IN TOM TYKWER’S PERFUME: THE STORY OF
MURDERER MOVIE: A PSYCHOANALYTIC APPROACH
Accepted and Approved by the Board of Examiner
School of Teacher Training and Education
Muhammadiyah University of Surakarta
August, 2011
Team of Examiner:
1. Dr. Phil. Dewi Candraningrum, S.Pd, M.Ed. ( )
(Chair Person)
2. Titis Setyabudi, SS ( )
(Member I)
3. Drs. Abdillah Nugroho, M.Hum. ( )
(Member II)
The Dean of Teacher Training and Education Faculty
TESTIMONY
Herewith, I testify that in this research paper, there is no plagiarism of the
previous literary work which has been conducted in obtaining bachelor degree of
university, and also there are no masterpieces which have been written or
published by others, except those in writing are referred in the manuscript and
mentioned in the literary review and bibliography.
Hence, later, if it is proven that there are some untrue statements in this
testimony, I will fully be responsible.
Surakarta, August 2011
WIDYA RATNA APRILIA
MOTTO
M y l ife is my st r uggl e
(The Writer)
This research paper is wholeheartedly dedicated to:
The Greatest Ones in the world Alloh SW T
And his Prophet M uhammad SAW
M y Parents
M y brothers M as Agus, M as novi, and d’ Kiki
M y big families in Blora
M y Lovely Soul mate and M y Husband to be
…
ACKNOWLEDGEMENT
Assalamu’alaikum Wr. Wb.
In the name of Allah the merciful and the compassionate, the writer a wares that
without Allah’s permission she is not able to finish her research paper entitled “THE
DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING HIS MINORITY OF
SENSE IN TOM TYKWER’S PERFUME: THE STORY OF MURDERER MOVIE:
A PSYCHOANALYTIC APPROACH” as requirement for getting Bachelor degree
of education in English Department of Muhammmadiyah University of Surakarta.
The writer would like to thank to the King of creatures for the great blessing and
guidance. So, the writer is able to finish it. The writer is strongly realizes that the
completion of this requirement is not a trivial one. But for the great attention,
motivation, material and mental supports given by her parents, relatives, beloved
ones, friends, and others. It is likely impossible to do so. Therefore, the writer wants
to dedicate her sincerest gratitude for all them.
The writer is also indebted to the people who helped to complete the research
paper. She would like to express his appreciation to those ones. They are:
1. Drs. H. Sofyan Anif, M.Si., the Dean of School of Teacher Training and Education Faculty Muhammadiyah University of Surakarta, for approving this
2. Titis Setyabudi, SS, the Head of English Department Muhammadiyah University of Surakarta.
3. Dr. Phil. Dewi Candraningrum, S.Pd, M.Ed, as the first consultant who has ready guided and adviced patiently during arranged this research paper.
4. Titis Setyabudi, SS, as the second consultant, who has guided the writer in correcting the research writing.
5. Her beloved Bapak and Mama who have given her unconditional love, support, prayer, and affection along her life till she can finish her study.
6. Her beloved Brother Mz Agus and Mz Novi and her young brother D’ Kiki, for their love and support, thanks for giving her great family,
7. Someone who has been coloring in her days Mz Anto. She thanks for his love,
advice, beautiful moments when we share, spend the time together and for an
unforgettable moment and memorable support.
8. Her friends in “H” class, English Department 2006. She thanks for their kindness.
9. Her close friends, Mba Esti, Mba Tintin, Tyo, Aristri, Bayu, Henry, David. She thanks for their honesty and for their support.
10.Her close friends in O2 boarding house: She thanks for their help and everything.
12.And to all the many people who made this research paper possible with thanks
beyond adequate expression.
The writer deeply realizes that this research paper is far of perfect. She
welcomes any endorsing suggestions and critiques. Yet, she greatly expects that this
research will be useful and able to give contribution for the academic study and
following research.
At last, hopefully Allah blesses those who like to conduct research.
Wassalamu’alaikum Wr. Wb.
Surakarta, August 2011
SUMMARY
WIDYA RATNA APRILIA JEAN-BAPTISTE GRENOULLE ON USING HIS MINORITY OF SENSE IN TOM TYKWER’S PERFUME: THE STORY OF MURDERER MOVIE: A PSYCHOANALYTIC APPROACH. Research Paper 2011.
This research is aimed to analyzedefense of Jean-Baptiste Grenoulle on using his minority of sense in Tom Tykwer’s Perfume: the Story of Murderer movie. The object of the study of this research is to analyze the film and the script based on its structural elements and the defense mechanism on the psychoanalytic perspective of the Perfume: the Story of Murderer movie.
This research is a qualitative research. The data are taken from document analysis. The results of study as follows; the film created based on the set of time in 18th century French. So the element of the movie is character and characteristic suitable with the style of 18th-19th century.
The plot and theme of the movie tells about the journey of Grenouille in a form of exposition story. The other technical elements also created based on the characteristic of the 18th-19th century. The defense mechanism of the major character only consists of sixes elements, such as: denial, displacement, intellectualization,
reaction formation, regression, and sublimation. The denial of Grenouille appears when the first time Grenouille meets with Baldini. They often involve in many kinds of argumentation. The displacement happens on Grenouille when he is angry with Baldini because he lies with him by smashing the glass on the floor. The intellectualization of Grenouille appears when he was a kid, when his friend disturbs him, he is just quite and watches them and does nothing. The reaction formation of Grenouille appears when he tries to make a positive thinking by creating a fragrance perfume just to fulfill his obsession in perfume and not for himself. The regression and sublimation tells about the feeling of Grenouille, where sometimes he feels lonely, happy, and also scares and with a special capability in sensing many kinds of smells, he gets this capability since he was a kid until he grows up. Finally he uses his extraordinary capability on his work. Then he work as a perfume creator helped by Baldini.
Keywords: Defense Mechanism, Psychoanalytic, Perfume: The Story Of Murderer.
TABLE OF CONTENTS
Page
TITLE ... i
APPROVAL ... ii
ACCEPTANCE ... iii
TESTIMONY ... iv
MOTTO ... v
DEDICATION ... vi
ACKNOWLEDGMENT ... vii
SUMMARY... x
TABLE OF CONTENTS ... xi
LIST OF FIGURE ... xiii
CHAPTER I INTRODUCTION ... 1
A. Background of the Study ... 1
B. Literature Review ... 5
C. Problem Statement ... 5
D. Limitation of the Study ... 5
E. Objective of the Study ... 5
F. Benefit of the Study ... 6
1. Theoretical Benefit ... 6
i. Rationalization ... 19
CHAPTER IV PSYCHOLOGICAL ANALYSIS ... 50
A. Stucture of Grenouille’s Personality ... 50
a. Id ... 50
b. The Ego ... 54
c. Superego Inferiority Feeling and Compensation ... 56
B. Defense mechanism of Grenouille ... 58
1. Denial ... 58
2. Displacement ... 60
3. Intellectualization ... 61
5. Regression ... 64
6. Sublimation ... 66
C. Discussion ... 69
CHAPTER V CONCLUSION AND SUGGESTION ... 73
A. Conclusion ... 73
B. Suggestion ... 74
LIST OF FIGURE
Fig. 1 Grenouille
Fig. 2. Laura
Fig. 3. Giuseppe Baldini
Fig. 4. Richis
Fig. 5. Costume of civilian who work in the market
Fig. 6. The building built by stones and a horse as transportation
Fig. 7. The Big French castle builds in 19th century
Fig. 8 The royal castle in French
Fig. 9. The use of the French name Marquis de Mostesquieu
Fig. 10. The party costume of French at the 18th century
Fig. 11. The civilian costume in the market of French at 18th century
Fig. 12. The soldier costume who work in French Government at 18th century
Fig. 13. Laura: bright and clean make up
Fig. 14. Richis: bright and clean make up
Fig. 15. The dirty make up for the people who lives in the slum
Fig. 16. Soft lighting to show the sadness of the actor and suitable with the set of
place in the market
Fig. 17 Strong lighting on the day light, the light is natural
Fig. 18 The light effect to make the yellow soft light focuses on the one spot
Fig. 19 Straight Angle
Fig 21. Low Angle
Fig 29. Far away from the back side
Fig 30. The curiosity feelings of Granouille, he smells the woman’s hand
Fig. 31. The fear, after killed the plum woman
Fig. 32. Granouille happy with the new fragrance he finds
Fig. 33. Granouille cries because he remembers with the plum girl
Fig. 34. Grenouille fights with Baldini because he really wants to learn about perfume
Fig. 35. Grenouille is very angry because the woman disobeys
Fig. 36. Laura sleep before on the time Grenouille wants to kill her
Fig. 37 The superego controls Grenouille’s ego when he wants to kill Laura
Fig. 38 Laura awakes from the sleep
Fig. 39 Denial in argumentation among Grenouille and Baldini
Fig. 40 Grenouille really wants to learn the basic of perfume
Fig. 41. Grenouille very angry with his failure, then he smashes the glass on the floor
Fig. 43. Granouille just watches them
Fig. 44. Grenouille is just watching his friend, even they,ve just thrown him with fruit
Fig. 45. Grenouille, lying on the cove naked and think about everything
Fig 46. Grenouille watches the girl from the outside
Fig. 47 Happy feelings when Grenouille sense a new smell
Fig. 48 Granouille freeze and stares the woman in front of her
Fig 49. Granoulle’s astonishment showed by his stares
Fig. 50 The little Grenouille capability in smelling the many kinds of senses
Fig. 51 When Grenouille grown up, his capability is getting bigge
Fig. 52 Grenouille’s passion in fragrance, makes him dares to kill human)
Fig. 53 Grenouille really wants to learn the basic of perfume with Baldini)
CHAPTER I
INTRODUCTION
A. Background of the Study
In Literary theories there are many kinds of analysis which can be used as
an approach on one research. The method in literature, such as psychoanalysis,
individual psychology, psychosocial, behaviorism, feminism, Marxists etc, can be
used as an approach to analyze literary work such as film, drama, novel, songs,
poem etc. All of the method mentioned above has their own elements. Here the
researcher wants to analyze one of the literary works that is film.
Like novel, poetry, and drama, film has the same position as the major
genres in textual studies. It is true that film has become part of daily life which
always attracts the attention million of eyes in this world. Different from novel
that is made to be read, film is form of entertainment that enacts a story by a
sequence of images giving the illusion of continues movement. Moreover, film is
usually acted by humans who act likes the story they made.
As everybody knows, making a film is more complicated than making the
other work. Making a film is not like writing a poem, it needs a team work which
involves many people as a crew. Film has many elements, such as, director, script
writer, editor, music composer, artists, producer, etc. Beside that, it also needs
some techniques, including mise-en-scene, sound, cinematography, editing and
also a story of the film.
Nowadays, the story of the film based not only on imagination of the
writer, but also from the real story of someone or something happened in the
world. Usually the director takes one of the greatest experiences or one of the
greatest people as the resources or the idea to make a film.
There are many directors who make the movie based on true story. One of
them is Tom Tykwer. Tom Tykwer was born in Wuppertal in 1965 and made his
first Super-8 film when he was eleven years old. From 1980 on he worked in
various independent arts house cinemas as a projectionist. In 1988 he became the
programmer at Berlin’s Moviemento cinema, as well as by doing some script
analyzing and shooting TV profiles of a number of different directors to make
ends meet. Around this time he also met cameraman Frank Griebe, who has
worked on nearly all Tykwer’s film projects right up to the present day.
After almost four years of work Tykwer’s most elaborate film to date,
Perfume, was released in cinemas on 14 September 2006. While the film received
some controversial comments in the press, the film version of Patrick Süsskind’s
bestseller, produced by Bernd Eichinger. The film remained in the international
cinema charts for several weeks, achieving blockbuster success particularly in
Europe, Asia and South America.
Above all Perfume is a story of identity, communication and the morality
of the human spirit. Perfume, was released in cinemas on 14 September 2006.
version of Patrick Süsskind’s bestseller, produced by Bernd Eichinger and with
actors such as Ben Whishaw, Dustin Hoffman, Alan Rickman and Rachel
Hurd-Wood in the leads, gave Tykwer his biggest box-office success to date. The film
remained in the international cinema charts for several weeks, achieving
blockbuster success particularly in Europe, Asia and South America.
Jean-Baptiste Grenouille is the main character in Perfume. He is an
unwanted Parisian orphan who, having little personal scent, is rejected by others
because they are disturbed by his lack of odor but endowed with an incomparable
sense of smell. He has an extraordinary power to discern odors, and comes to
loathe the scent of other people. He apprentices himself to a perfumer and
becomes obsessed with procuring the perfect scent that will make him fully
human. One day he smells a divine scent and follows it, and is shocked to find
that the source of this beautiful scent is a young woman. He kills her to get a
better smell of her scent, but after death the scent ceases. He dedicates his life to
preserve this perfect scent. In the process, he creates perfumes that powerfully
manipulate human emotions, murdering 25 girls to take their scent.
By using defense mechanism of psychoanalysis, the researcher tries to
analyze the film above. Defense mechanism is a way that people use to protect the
individual self-esteem and defend him or her against excessive anxiety when
faced with continuing frustration (Hilgard, 1962: 511). The ego defense
This way just gives another way on giving the perfect reason on doing something,
rejects about something and makes their personality better when they feel inferior
and anxious. Freud (in Hjelle and Ziegler, 1976: 38) stated that defense
mechanism is a strategy used by the individual to defend against open expression,
of id impulses and posing super ego pressure. Here, the researcher wants to
explore the defense of Jean-Baptiste Grenoulle on using minority sense in
Perfume, a movie written and directed by Tom Tykwer.
The film makes the researcher interests to analyze because; first the film
Perfume is a new film where the researcher cannot find the original VCD. The
film only played on the western cinema, while in Indonesia the film uploaded in a
form of RIP in DVD’s format.
The second reason, the researcher never found the previous study related
with Perfume film. So the researcher makes the first move in analyzing the
perfume film, especially by using psychoanalysis defense mechanism.
The third reason, the film made based on the famous novel entitled
‘Perfume: The Story of a Murderer’ 1985 by Patrick Süskind which has sold over
15 million copies worldwide.
The last reason, the film is a historical epic movie. It tells about the
beginning of perfume appears, so the film set within 18th-century France. The
story lines a strange one but none the less better than commercial movies. The
ending was just wrong, there was no justice. It starts whereas it ends.
Based on the reasons mentioned above, the researcher tries to focuses on
the study based on Freud psychoanalytic approach. The title of the study will be
‘THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING HIS
MINORITY OF SENSE IN TOM TYKWER’S PERFUME: THE STORY OF
MURDERER MOVIE: A PSYCHOANALYTIC APPROACH’
B. Literature Review
As long as the writer knows, there is no other research that has been
conducted to study the movie Perfume in Muhammadiyah University of Surakarta
and Surakarta Region.
C. Problem Statement
Based on the phenomenon explained above the researcher processes the
problem; “How is the defense of Jean-Baptiste Grenoulle on Perfume movie?
D. Limitation of the Study
In this research, the researcher analyzes the defense of the major character of
Jean-Baptiste Grenoulle on Perfume movie by using Psychoanalytic approach,
E. Objectives of the Study
The object of the study of this research is to analyze the film and the script
based on its structural elements on the psychoanalytic perspective.
F. Benefit of the Study
There are some benefits expected from this study, such as:
1. Theoretical Benefit
This research can contribute to the knowledge about literary study
especially psychological approach toward the literary work and to give
information and knowledge to the reader, especially the literary study
defense mechanism on Perfume movie by Tom Tykwer.
2. Practical Benefit
To get better understanding of the movie, in literary field as references
to other researchers in analyzing the movie especially based on the Freud
theory psychoanalysis approach.
G. Research Method 1. Type of the Study
The writer analyzes the The Perfume movie by using qualitative method.
Moleong (1995: 5) states that qualitative research is a type of research, which
object. The data in this research are qualitative data, in form of words, spoken
or written of people and analyzed attitudes (Moleong, 1995: 3). The
qualitative method it self usually uses the surrounding area as a data source;
qualitative usually has an analytic descriptive nature, which there is
documentation, interview, note etc. The emphasizes of qualitative right on the
process not the result. In this research, the writer uses theory and explanation,
method and technique to analyze the problem that is the struggle of the
freedom writers in the The Perfume movie.
2. Subject of the Study
The writer takes the film Perfume as the subject of the study. This film
is directed by Patty Jenkins and published by New Market Film association
with Media 8 Entertainment.
3. Type of the Data and the Data Source
The writer divides the data source into two categories:
a. Primary data source
The primary data source of the study is film Perfume.
b. Secondary data source
The writer takes the secondary data source, including reference and
materials related to the study whether picking up from books or internet.
4. Technique of the Data Collection
a. Observation
It is used to make the analysis by watching the film several times to get the
understanding about this film.
b. Library research
There are some procedures in library research:
1) Watching the film several times and determining the character that will
be analyzed.
2) Reading some related books to find out the theory, data and
information required.
3) Making notes of important parts in both primary data and secondary
data.
4) Classifying the data into categories.
5) Drawing conclusion to get the last result.
5. Technique of the Data Analysis
The technique of analyzing data in this research is classifying the data
based on Freud’s defense mechanism psychoanalysis approach by classifying
H. Paper Organization
The writer makes an organization of this paper in order to make an easy
understanding. There are five chapters in this research paper. Chapter one is
introduction includes the background of the study, literature review, problem
statement, the objective of the study, benefit of the study, theoretical approach,
research method, and paper organization. Chapter two is underlying theory. It
deals with the notion of psychoanalytic theory, the basic concepts of
psychoanalysis and theoretical application. Chapter three is structural analysis of
the film, including narrative and technical elements. Chapter Four is dealing with
the analysis of the major character using psychoanalytic approach. And the last
CHAPTER II
UNDERLYING THEORY
This chapter deals with the theory in which the writer employs in analyzing
the Tom Tykwer’s Perfume: The Story of Murderer Movie, namely Psychology. The
theory of psychoanalysis, which is used by the writer is to describe the
psychoanalysis aspects, the psychoanalysis proposed by Sigmund Freud. The usage
of this theory is based the assumption that psychoanalysis has a close relationship
with literature.
A. Notion of Psychoanalysis
Psychoanalysis is the branch of psychological study that focuses on the
personality of human being. According to Freud (in Pervin, 1984:21)
“Psychoanalysis reflected changing value in the society and plays a role in the
changing of values”. Furthermore, psychoanalysis exemplifies a psychodynamic
theory in that it gives a prominent role to the complex interplay among forces in
human behavior.
Sigismund Schlomo Freud was well-known as Sigmund Freud. He is best
known for his theories of the unconscious mind. He was born on May 6, 1856 and
died in September 23, 1939. He was a Czech Austrian neurologist and
psychiatrist who founded the psychoanalytic school of psychology. (Freud,
Psychoanalysis is “a technique to investigate an individual’s unconscious
thought and feelings.” (Hjelle and Ziegler, 1992: 86). This statement also support
by Freudian, which explain that psychoanalysis is a specific type of treatment. It
is describes the taught includes dream, fantasies which causes unconscious
feeling. (http://en.wikipedia.org/wiki/ Psychoanalysis). Sigmund Freud's Theory
is quite complex and although his writings on psychosexual development set the
groundwork for how our personalities developed, it was only one of five parts to
his overall theory of personality. He also believed that different driving forces
develop during these stages which play an important role in how we interact with
the world.
According to Freud (in Feist, 1985: 22), the unconscious is the only
explanation for the meaning behind dreams slips of the tongue, neurotic
symptoms, and certain kinds of forgetting called repression. For example, a child
has a dream to become a president. When he is adult, he can memorize that
conscious feeling of mind: the conscious is a level to enter the conscious. Sexual
and aggressive tendencies were often become unconscious through the process of
repression. Repression is the forcing of unwanted, anxiety-ridden experiences
into the unconscious in order to defend the person against the pain of that anxiety
(Feist, 1985: 22).
Unconscious is divided into three concepts, the descriptive unconscious,
unconscious contains of all the characteristic of mental life. The dynamic
unconscious is more specific construct it refers to mental processes and contents
to survive from consciousness as the result of conflicting attitudes. The system
unconscious denoted the idea that when mental processes are repressed it
different from those of the conscious mind, such as condensation and
displacement. (Boesky D. in http:// en.wikipedia.org/ wiki/ Psychoanalysis).
B. Structure of Personality
Theory of psychoanalysis views that mental process of individual has
three systems namely, the id, ego and superego (Koeswara, 1991:321). According
to Freud, the id, ego and superego “are not persons, places, or physical things,
they are the names given to certain motivational forces whose existence is
inferred from the way people behave” (Feist, 1985: 24).
The actual terms id, ego and super-ego are not Freud's own, but are
latinisations originating from his translator James Strachey. Freud himself wrote
of ‘das Es' as the it and it means id, 'das Ich' it means the I translated into the ego,
and 'das Über-Ich' it means the upper I translanted into English it means the
superego. (Freud, Sigmund in http:// en.wikipedia.org/ wiki/
Ego%2C_super-ego%2C_and_id). Feist (1985) explains that there are three components of
personality, the id, ego, and superego. They it almost always translated into
English as id, that I was named as ego and the above-I it means as superego (24).
a Id
According to Freud (in Burger, 1986: 56) id is “the most basic system
of personality where innate instinct exists. Freud (in Asimov: 1983: 415) in
states that the Id is concerned only with satisfying personal desires.
Furthermore Freud states that “the Id is concerned only with reducing the
tensions generated by the organism’s needs: the need for warmth, food, facile
stimulation, and so forth”.
Freud (in Asimov, 1983: 414) states that “to satisfy the need that has
been aroused, human being developed “wishes” that motivate and direct
behavior”. The tendency of Id to devote itself exclusively to the immediate
reduction of tension is called the pleasure principle.
Freud (in Burger, 1986: 55) states “the Id impulses are ever present
and are held in check by other parts of the adult’s personality. According to
Freud (in Burger, 1986: 56) “the Id uses wish fulfillment to satisfy the need:
if a baby is hungry and doesn’t see food nearby, the Id imagines the food and
thereby at least temporarily satisfies the need”. The Id impulses are
unconscious, so that we are unaware of all the impulse we might wish to act
upon. Freud (in Burger, 1986: 56) explains, “because of many of these
impulses center on themes of sexuality and aggression, it is probably good
b Ego
Freud (in Hall, 1985: 34) states that the ego is “the result of the
creation of spiritual inner systems as the result of reciprocal relationship
between an individual and his world. Freud declares that the ego is actions
based on the reality principle. According to Freud (in Asimov, 1983: 195)
“the primary job of the ego is to satisfy the Id impulse, but to do so in manner
that takes place into consideration the realities of the situation”.
It is important to emphasize that the ego’s job is not frustrating the
aims of the Id. Rather the ego develops in order to help the Id get what it
wants. If a person is hungry, the Id impulse may grab whatever food is
around. “The ego understands that this action can lead the problems and
instead attempts to obtain good and this reduce tension, in such manner that
the person does not end up in a lot of trouble” (Burger, 1986: 57).
Freud (in Burger, 1986: 58) states that thought the ego lacks the
strong vitality of the Id; it regulates the instinctual drives of the Id so that they
may be released in non-destructive behavioral patterns. And though a large
portion of ego is unconscious, the ego nagger the less comprises what we
ordinarily think of as the conscious mind.
Freud (in Burger, 1986: 57) states that human behavior is motivated
by the instinct and directed toward tension reduction. Freud explains that,
and may be watched carefully enough so that they do not found hot or sharp
object that might harm them. Thus, early in life and perhaps occasionally in
adulthood, reflexive actions can result in the reduction of tension”.
But as infants mature, it becomes necessary for them to develop and
understanding of the physical and social limits on what can and cannot be
done.
c Superego
Superego is the internal representative or the traditional values and
evaluative norms. Freud (in Hall and Lindzey: 1985: 35) states that the
superego represents societies and is particularly the parents as values and
standards. “Superego as the principle of morality consists of some values and
evaluated norms”.
Superego forwards to ideal world and perfection than pleasure. The
superego thus places more restrictions or what on individual can and cannot
do (Asimov, 1983: 145). The primary weapon the superego brings to the
situation is guilt. But superego does not merely punish the individual for
moral violations.
Superego is a morality element branch of justice from personality
system. Freud (in Hall and Lindzey, 1985: 34) states “Superego is the internal
represents the ideal world rather than pleasure or the real world it tries to
reach perfection rather than pleasure”.
The superego does not merely punish the individual for moral
violations. According to Freud (in Burger, 1986: 57), “Superego also provides
the ideals the ego uses to determine if a behavior is virtuous and therefore
worthy of praise. Because of poor – rearing practices, some children fail to
fully develop the superego. In other individuals, the superego can become too
powerful, or: supermoral” and burden the ego with impossible standard of
perfection”. Here the person could suffer from relentless moral anxiety – an
ever – present feeling of shame and guilt – for failing to reach standards no
human can meet.
C. Defense Mechanism
Some of the ways in which people reduce anxious feeling without
addressing the problems have been employed so often those they have been given
names. According to Freud (in Atkinson, 1983: 38) “the term defense
mechanisms refer to unconscious that depends against anxiety by distorting
reality in some way”. Defense mechanism is those physical method that have
been involved
a. Repression
Repression means preventing an idea, feeling or memory from reaching
effort by the ego to push unwanted material out from ever reaching
consciousness”. According to Freud (in Asimov, 1993: 417) the fundamental
defense mechanism one that keeps threatening thought and memories from
consciousness and pushes they back into the unconscious. A repression of the
incestuous impulse is maintained in the unconscious.
b. Suppression
Freud (in Atkinson, 1983: 27) states that “suppression is the process of
deliberate self – control of keeping impulse and desires in check (perhaps
holding them privately while denying them publicly) or temporarily pushing a
side painful memories in order to concentrate on a task – individuals are
aware of suppressed thoughts put are largely unaware of impulses or
memories that are repressed”.
c. Denial
Freud (in Burger, 1986: 60) states that denial is “the expression of
refusing to acknowledge that unpleasant events have occurred and an extreme
form of defense”. When we use denial, we simply state that certain facts do
not exist. Freud (in Burger, 1986: 61) states that “the more we are use it, the
less we are in touch with the reality, and the less likely are able to function
fully”. In more cases the ego will resort to denial rather than allow certain
thoughts to reach consciousness.
Freud (in Asimov, 1983: 47) states that “projection is a denial of one’s
owns unacceptable desires the discovery of these desires in the behavior of
the people. According to Hall (1981: 52), projection, often serves a dual
purpose, it reduces anxiety by substituting a lessees danger for a greater one,
and it enables the projecting himself against his enemies.
e. Displacement
There are two types of displacement:
1) Object Displacement
According to Freud (in Asimov, 1983: 61) “object displacement
may occur when our impulses arise from original target to another person
or object; however with displacement we express the impulse to a non –
threatening object”.
2) Drive Displacement
Freud noted that many of our apparently irrational tears or phobias
are merely symbolic displacement. Freud (in Holmes, 1992: 297) states,
“A person displaces energy associates with one feeling different from one
originally elicited. They must commonly refer to instance of drive
f. Regression
Freud (in Asimov, 1983: 418) states that regression is related to fixation
in that a person usually regresses to a stage at which she or he was previously
fixated.
Regression behavior is similar to fixated behavior in that it is rigid and
infantile. According to Freud (in Feist, 1985: 34) “regression, however, is
usually temporary, while fixations demand a more or less permanent
expenditure of physic enemy”.
g. Identification
Freud (in Hall, 1981: 19) explains the term identification to the more
familiar imitation because he felt that imitation denotes a kind of superficial
and transient copying behavior whereas he wanted a word that would convey
the idea of a more or less permanent acquisition to personality.
h. Reaction Formation
Reaction formation is the extreme terms of behavior. According to
Freud (in Asimov, 1983: 418), “the stronger impulse toward socially
unacceptable behavior, the stronger the defense against it, so that the
crusaders who “protest too much” against what they consider reprehensible
behavior may be displacing reaction formation”. One of the ways in which a
repressed impulse may show itself is trough adopting a disguise that is
i. Rationalization
It is the use of a “good’ reason but the real season for behaving is
particular way with this strategy a person can provide a rational explanation
for the behavior, and in undoing conceal from self or other the less
appropriate motivation (Holmes in Corsini, 1987: 298”).
j. Sublimation
According to Freud (in Burger, 1986: 60), sublimation is the only truly
successful defense mechanism, in that the more we use it, the more
productive we become. Freud also states (in Burger, 1986: 60) “sublimation is
the channeling of negative id impulses into socially acceptable action”. A
prominent example of sublimation, Freud (in Feist, 1985: 36) believed, is the
art of Michelangelo who found an indirect outlet for his libido in printing and
sculpting.
k. Intellectualization
One way for the ego to handle threatening material is to remove the
emotional content from the idea. According to Freud (in Atkinson, 1983: 26)
“Intellectualization is an attempt to gain detachment from an emotionally
threatening situation by dealing with it in abstract, intellectual terms”.
D. Structural Elements of the Movie
The discussion about the novel is not far from the structural elements of
enjoyable to read. The structural elements of the novel consist of character and
characterization, plot, setting, point of view, theme and style.
a. Narrative Elements
1) Character and Characterization
Character is a person who does the dialogue in the scenes (widagdo
and Gora). Characters usually appear as actors in film. They are the most
interesting part in film production. The filmmaker teams show what the
person as an actor doing something, they have to make decision how
much they will show the person is doing and how much we see the
personality of characters related with other manifestation such as body
posture, facial, expression, and also their clothing (Douglass and Harnder,
1996:95)
A character is presumably, an imagined person who inhabits a
story; stories may happen not only to people but to elements of nature
such as the wind, the wave, grass, stone, or animals (Kennedy, 1983: 45).
There are two kinds of character, namely major character and minor
character. According to Kennedy (1983: 45) the major character is a
character whose personalities becomes familiar for the reader and minor
characters that support the identification of the major characters.
Characterization is the description of the quality of character,
According to Koesnosoebroto ( 1988: 67) there are two types of
characters; they are main or major character and minor character. Major
character is the most important character in a story because the story is
about the major character (Koesnosoebroto, 1988: 67).
Though the minor characters are less important than the main
characters, the main character cannot stand on his own, they need other
characters to make the story more convenient and life like
(Koesnosoebroto, 1988: 67).
2) Plot
Plot is the specific pieces of the story chosen to tell the
protagonist’s story to the film- going other audience. The term of the plot
is used to describe everything visibly and audibly which present in the
film. The plot includes, first the entire story events that are directly
describing in film performance, secondly, the film’s plot may contains
material there is no relationship to the story world (Bordwell and
Thompson)
According to Koesnosoebroto (1988: 43) conflict is the core of the
conventional plot. According to Aristotle (in Koesnosoebroto, 1988: 53)
complication is all over the beginning of the story to the point just before
the change to the hero’s fortune. Complication means the rising action
(Koesnosoebroto, 1988: 44). At this point, tension is high and the
protagonist and the antagonist are in conflict, and it is the moment of truth
for them (Koesnosoebroto, 1988: 37).
Resolution is the outcome or conclusion, and the unifying of the
knot (Kennedy, 1983: 9). Resolution is also known as the final decision
when the climax is going down. Koesnosoebroto (1988: 47) states that
resolution is turning points or denouement or key movement. Thus point
marking the end of middle and the beginning of the end (Koesnosoebroto,
1988: 47).
3) Setting
Setting is background of the story. According to Klarer (2004: 25)
setting is another aspect traditionally included in analyses of prose fiction,
and it is relevant to discussions of other genres, too. The term ‘g’
“setting” denotes the location, historical period, and social surroundings
in which the action of a text develops.. Setting is important to create a real
impression of the story for the readers. The reader will be able to create
circumstances as if the story really happens and developing imagination
about the story (Kennedy, 1993:38-39). The condition of place must be
the same as the real life. The time setting also means the condition of
simply the place and time of incident, but also social surrounding of a
story.
4) Point of View
Point of view is the most interesting in the narrative elements. It is
the basic narrative devices available to the story teller. Some authors
deciding from whose point of view to tell the story is a fundamental
consideration in making a story (Douglass and Harnden, 1996: 31). There
three definitions of view. Firs, point of view refers to a camera shot taken
as if seen through The Perfumes of character.
Second, point of view refers to the perspective of the story teller.
This point of view is divided into three categories: first person, second
person, and third person (not omniscient). The meaning of not omniscient
in movie production is point of view that the reader or viewer can enter
the mind and hear the conscious thought of a character. Third, point of
view refers to interest, attitudes and belief associated with a character of
group’s particular perspective.
5) Theme
Theme can be defined as the main idea of the story. Kennedy stated
that theme of a story is whatever general idea or insights the entire stories
reveal the literary fiction (Kennedy, 1993:161). A filmmaker should
path. In discovering the theme, the filmmaker will examine their
knowledge of the audience (Douglass and Hamden, 1996:3).
b. Technical Elements
1) Casting
According to Douglass (1996: 107), casting character requires
knowing the qualities of the center character that the most important, the
ones that motivates them through the story and the finding the people who
understand and convey those qualities. During casting, we must be open
to the interpretation as actor brings to the part such as different musician
bring different interpretation to a song or different actors approach a
character differently (Douglass, and Harnder, 1996: 108)
2) Mise-en-scene
“Mise-en-scene means the staging action (act stage properties) and
it was first applied to the practice of directing movie”. Mise-en-scene
refers to all the elements of set, set dressing, props, customers, make-up,
lighting and even physical body posture that arranged and place before
the camera lens (Douglass, 1996: 119).
a) Set dressing (costume) and props
According to Douglass and Harnden (996: 116) set dressing is
the items in the scene such as furniture, curtain, floor, painting,
bar walls in the floor of a set”. And, props arew “object that actors or
people use in the drama-a picture of a loved one, a baseball glove, a
gun, a bouquet of flower, or pizza that will be delivered to the door”
(Douglass and Harden, 1996: 131). Set dressing gives contribution in
presenting the line, character, and action (Douglass and Harnden,
1996: 32).
b) Costume and Make-Up
Costume in film production has important function because
costume for film usually must show the authenticity of film
production (Douglass and Harnden, 1996: 134).
Costume is the clothes the character wear in the action,
“costuume can have specific function in the total film and possibilities
is huge” (Brodwell and Thompson, 1990: 1320. Make-up is some
beauty equipment that used the characters, “make-up can aim at
complete realism, like costume, it should be analyzed in term of how
it contributes to a unified characterization” (Brodweel and Thompson,
1990: 132).
c) Lighting
In cinema, lighting is more than just illumination that permits
us to see the action. Lighter and darker areas within the frame help
to certain objects and actions (Bordwell and Thompson, 1990:133).
There are some lighting used in film: Frontal lighting can be
recognized by its tendency to eliminate shadows, sidelight is used to
sculpt the characters, backlighting defines depth by sharply
distinguishing and object from its background, under lighting
suggests that the light comes from below the subject, top lighting
usually appears along with light coming from other directions, the key
light is the primary lighting source of the image, and a fill light is
used to fill the darkness (Bordwell and Thompson, 1990:134-135).
d) Figurative Expression and Movement
An acting of the film is divided into two: visual and sound
element. Visual element of the movie involves appearance, gesture,
and facial expression of the character. Sound is in line with acting, it
is related with voice effects (Bordwell and Thompson, 1990: 137)
3) Cinematography
Cinematography is a process to improve and to correct a literary
work, especially script. “The process to creating and collecting of raw
materials, the editor has to analyze the given material and intellectual and
aesthetic decisions that will result in the finished work” (Douglass and
Harnden, 1996: 145). According to Brodwell and Thompson (1990: 154-
filmmaker tries to manipulate the film deals with photographic qualities
of the shot (Brodweel and Thompson, 1990: 175). The filmmaker also
manipulates the film deals with Big City. Camera distance helps to
determine what details will be noticed, what object will be excluded from
the frame. This camera distance is distinguished into several types, there
are extreme long shot, medium long shot, medium shot, medium close-up,
close-up and extreme close-up (Brodwell and Thompson, 1990; 75).
4) Sound
Sound can impart to a scene with enormous force. According to
Douglass (1996: 86) building mood in a scene with sound is done
principally through the music and sound effect track rather than in the
sync soundtrack. Moreover, sound can contribute to the realism of a scene
by providing the ambient background that our audience would expect to
hear the location. Sound effect can powerfully influence our perception
(Douglass and Harnder, 1996: 87)
5) Framing
In film, the frame is not simply a neutral border; it produces a
certain vantage points into the material within the image. In cinema, the
frame is important because it actively defines the image for us (Bordwell
6) Editing
Klarer (1996: 63) stated that “editing is one of the major cinematic
techniques which have contributed to the flexibility of medium”.
E. Theoretical Application
This research will apply the psychoanalytic theory proposed by Sigmund
Freud to analyze the film. It focuses on the defense of Jean-Baptiste Grenouille on
Perfume movie. To make it easier to apply Sigmund Freud theory in this study,
the writer takes the following steps.
There are some steps in analyzing the film. The first is analyzing the
intrinsic elements of literary work. The second is making a study about the theory
of psychoanalytic approach. The third makes relationship between the theory and
the literary work by analyzing the action, the dialogue, and the characters of the
CHAPTER III
STRUCTURAL ANALYSIS
This chapter deals with structural analysis of Perfume: The Story of Murderer
movie. This chapter is classified into three major parts. Those are analysis of
narrative elements, technical elements and the last is discussion. Narrative elements
consist of the analysis of the characters and characterization, setting, plot, point of
view, and theme of the movie, whereas technical elements consist of Mise-en-Scene,
cinematography, sound, and editing. The last part is discussion.
A.Narrative Elements
1. Characters and Characterization
The researcher divides this analysis into two classifications. It is based on
the function of character in the story. The first is major character and the
second is minor character.
a. Major Character
1) Ben Whishaw as Jean-Baptiste Grenouille
Grenouille is a man who lives in France because he was born in
French fish market. He works in making a delivery to a perfume shop.
He is a handsome man with a black short hair. His eyes look so calm. He
always looks dirty because he lives in a French market and gathers with
the other dirty people.
Mentally, he is a good man and so quite because he feels different
with the other. Raised in an orphanage, Grenouille grows into a strangely
detached boy with a superhuman sense of smell. With his ability in sense
smelling, he dares to challenge his master to make a good perfume better
than ‘amor and psyche’.
Baldini : It is need a craft for the true perfume to detect the exact formula. Which note and what precise the instrument. Can you tell me the exact formula for the ‘amor and psyche’? hemm, best nose in Paris.. Speak up!.. see u can’t let me tell you why..because talent is nothing, while experience, acquire the ability and the hard work.
Grenouille : I don’t I don’t know what the formula is? But I can make more that the ‘amor and psyche’ now. And master Baldini, you must let me do it in my own.
Baldini : as you please.
(Perfume, minutes 12:52)
Grenoulie is also a man who has a strong wants, especially on
learning with Baldini about the formula. He keeps pushing Baldini to
accept him to work on his perfume shop.
Baldini : No I’m not in a good mood now. Well a lot of thing in my mind
now. And just go now.
Grenouille : but master
Baldini : Go now
Grenouille : can I come to work with you master? Master can I Baldini : aaa let me think about it
Grenouille : master, I have to learn about to keep smell Baldini : what?
Grenouille : can you teach me that?
(Perfume, minutes 21:52) b. Minor Character
They are characters that join in the story, however they just as
complement. Minor character is the character that supports and completes
characterization of the main or major character to make the story more
convincing and lifelike.
1) Rachel Hurd-Wood as Laura
Fig. 2 Laura
Laura Richis is the daughter of the wealthy Antoine Richis, she
lives in Grasse. She is a beautiful girl with a long brown hair. She has a
Mentally, she is a good girl. She loves her father, so even she does
not want to get marriage sooner, but she does not want to make her
father sad. It can be seen on below dialogue:
Richis : last night I have a dream you’re dead. Murder like the other girl. All of the victim is a young girl, who is that more beautiful than you Laura? Whatever of his insane dream will be incomplete without you. I’m written to the marquis accepting his proposal of marriage as soon as possible. Until then, you are safety in the safe place
Laura : You do this because you have a bad dream? Richis : I made my decision
Laura : I don’t know if I don’t even love him. Richis : It’s all arranged, Laura
Laura : But papa
(Perfume, minutes 01:43:06)
2) Dustin Hoffman as Giuseppe Baldini
Fig. 3 Giuseppe Baldini
Baldini is the Italian owner of perfume shop; he has an ability to
create fragrances. Physically, he is a kind man who helps Grenouille to
have a job in his shop. With a brown short hair and his body is shorten
than Grenouille. His dress is little bit better, because he has a high level
Mentally, Grenouille is a good man because he helps people to
make better in performance. He is also nice with Grenouille, because he
helps him by giving him a job and teaches him how to convert scents
into perfume.
Baldini : It is need a craft for the true perfume to detect the exact formula. Which note and what precise the instrument. Can you tell me the exact formula for the ‘amor and psyche’? hemm, best nose in Paris.. Speak up!.. see u can’t let me tell you why..because talent is nothing, while experience, acquire the ability and the hard work.
Grenouille : I don’t I don’t know what the formula is? But I can make more that the ‘amor and psyche’ now
(Perfume, minutes 39:07)
Baldini tells everything about the perfume and the perfume
formula.
3) Alan Rickman Antoine Richis
Richis is Laura’s father. He is an old man with a white hair rolling
up. He talks calm and full of self confident so it makes him look so
wise.
Richis is a good parent of Laura. He loves her daughter and he
wants to help her supposed to be not died by the murderer. He will do
anything to safe her daughter. It can be seen on below dialogue:
Richis : last night I have a dream you’re dead. Murder like the other girl. All of the victim is a young girl, who is that more beautiful than you Laura? Whatever of his insane dream will be incomplete without you. I’m written to the marquis accepting his proposal of marriage as soon as possible. Until then, you are safety in the safe place
major parts. They are setting of time and setting of place.
a. Setting of Time
Setting of time shows the time, when the act is happen on the story.
The time is not always appears in every prologue, but sometimes the director
shows it through the other aspect, such as; costume or the event within. The
film created based on the set of time in 18th century French, shooting the
film in its original setting of Paris was unlikely due to the extensive
modernization of the city in the 19th century. It can be seen on the set of
Fig. 5 (Costume of civilian who work in the market)
Fig. 6 (The building built by stones and a horse as transportation)
Fig. 7 (The Big French castle builds in 19th century)
b. Setting of Place
This story occurs in French. It can be identified based on this screen
Fig. 8 (The royal castle in French)
Besides the building on Paris that shows the setting place of Paris, the
name of each character also shows setting of place and it can be seen on the
name of each character such as Marquis de Mostesquieu.
Fig. 9 (The use of the French name Marquis de Mostesquieu)
3. Plot
The writer uses the conventional plot which includes the major parts of
the chronological events. The story was begun by the reason of the problems
and ended by the solution in the end of story. Plot of Perfume: The Story of
Murderer movie is exposition, where the story tells from the beginning until the
end.
The film begins with the sentencing of Jean-Baptiste Grenouille, a
notorious murderer. Between the reading of the sentence and the execution, the
story of his life is told in flashback, beginning with his abandonment at birth in
a French fish market. Raised in an orphanage, Grenouille grows into a strangely
detached boy with a superhuman sense of smell. After growing to maturity as a
new odors. He focuses on a girl selling plums and startles her with his behavior.
To prevent her from crying out, he covers the girl's mouth and unintentionally
suffocates her. After realizing that she is dead, he strips her body naked and
smells her until the scent fades. Afterwards, Grenouille becomes haunted by the
desire to preserve a woman's scent forever.
After making a delivery to a perfume shop, Grenouille amazes the Italian
owner, Giuseppe Baldini with his ability to create fragrances. He revitalizes the
perfumer's career with new formulas, demanding only that Baldini teach him
how to convert scents into perfume. Baldini explains that all perfumes are
harmonies of twelve individual scents, and may contain a theoretical thirteenth
scent. He also tells a story about a perfume discovered in an Egyptian tomb that
was so perfect that it caused everyone in the entire world to briefly believe they
were in paradise the moment the bottle was opened.
Upon arrival in Grasse, Grenouille catches the scent of Laura Richis
daughter of the wealthy Antoine Richis and decides that she will be his
"thirteenth scent", the linchpin of his perfect perfume. Grenouille finds a job in
Grasse under Madame Arnulfi and Dominique Druot assisting with perfumes
and learns the method of enfleurage. He kills a lavender picker and attempts to
extract her scent using the method of hot enfleurage, which fails. After this, he
tries the method of cold enfleurage on a prostitute and successfully preserves
beautiful young girls and capturing their scents. He dumps the women's naked
corpses around the city, creating panic. After preserving the first twelve scents,
Grenouille plans his attack on Laura. During a church sermon against him it is
announced that a man has confessed to the murders. Richis remains
unconvinced and flees the city with his daughter. Grenouille tracks her scent to
a roadside inn and sneaks into her room that night. The next morning, Richis
discovers Laura lying dead in her bed.
Soldiers capture Grenouille moments after he finishes preparing his
perfume. On the day of his execution, he applies a drop of the perfume over
himself. Walking out of Grasse unscathed, Grenouille has enough perfume to
rule the world, but has discovered that it will not allow him to love or be loved
like a normal person. Disenchanted by his aimless quest and tired of his life, he
returns to Paris. Back in the city, Grenouille returns to the fish market where he
was born and dumps the perfume on his head. Overcome by the scent and in the
belief that Grenouille is an angel, the nearby crowd devours him. The next day,
all that is left are his clothes and the open perfume bottle, from which one final
drop of perfume falls.
4. Point of View
According to Douglass and Harnden, Point of View can be classified
based on Point of view in terms of perspective of storyteller or the director
shooting the film in its original setting of Paris was unlikely due to the
extensive modernization of the city in the 19th century. The director wants to
show that the birth of perfume, where French is the place of fashion and many
kinds of human fashion especially perfume and dress.
The director also wants to show that women as a beautiful creature, has
a different thing that is unform such as smells, act, and feminism side. The
film of Perfume: The Story of Murderer focuses on the beautiful smell of
women through the essence of the woman’s body.
5. Theme
The theme of Perfume: The Story of Murderer movie is a man who wants
to reach the highest ability of sense. The story tells the passion of Grenouille
who is learning the formula from Baldini (the perfume master), he tries to
creates his own perfume from the essence of woman’s death body. He
murdered all of the victims. So the right theme for the film based on the
researcher point of view is the sublimation of a man in using his sense ability
for making a better perfume.
B.Technical Elements 1. Mise-en-Scene
Perfume: The Story of Murderer movie is a story created based on the
set of time in 18th century French, shooting the film in its original setting of
Paris. The costume and make-up was suitable with the culture of them. In
this movie, costume designer used formal French costumes of 18th century. It
follows the event that occurs in the movie. This movie also used standard
make-up. It means that the make-up of the character likes the people
commonly. It can be observed from the pictures below:
The character dressed formal clothes based on the set of 18th century:
Fig. 10 (The party costume of French at the 18th century)
Fig. 12 (The soldier costume who work in French Government at 18th century)
While the make-up also uses the bright and dingy to create the
differences between the upper and the lower people. It can be seen on below
capture:
The people from the upper, who work with the government the make
up is so bright, it makes the clear sapiental authority of the men.
Fig 15 (The dirty make up for the people who lives in the slum)
b. Lighting
The lighting, besides used for the illumination that permits the people
to see action, it is also to show creates the power of the character of the
actors. There are four major features of film lighting; quality and color.
1) Quality
Quality refers to the relative intensity of the illumination. There are
two kinds of lighting based on the quality;
The first, soft lighting appears when the character to show the feels
of sadness, misterious and comfortable.
Fig. 16 (Soft lighting to show the sadness of the actor and suitable with the set of place in the market)
Secondly, strong lighting comes from the sun when the camera
Fig. 17 (Strong lighting on the day light, the light is natural) 2) Color
The filmmaker can make the illumination of a scene any color at
all. There may be a realistic source in the scene to motivate the coloration
of the light, but color can just as easily be nonrealistic. Using colored
light to perform a function usually confined to the acting is all the more
effective because it is so unusual. The movie director of Perfume: The
Fig. 18 (The light effect to make the yellow soft light focuses on the one spot)
2. Cinematography
The filmmaker controls cinematography qualities shot, not only what is
filmed but also how is filmed. This consists of several framing shot. The
Framing Shot where both of camera angle and camera distance determine the
position of image. There are three types of camera angle: straight on angle, high
angle, and low angle. Whereas camera distance consists of the extremely long
shot, the long shot, the medium shot and the close up and. Camera angle in the
Perfume: The Story of Murderer movie can be seen below.
In the straight on Angle refers to frame of camera shots which are
horizontal and on the same level of the subject as in the picture below.
Fig. 19 (Straight Angle)
The high angle refers to frame of camera shots above the subject’s eye
